Моцарт и Сальери

by Alexander Pushkin

Puşkin'in Küçük Tragedyalar'ından biri olan Mozart ve Salieri, Mozart'ın, dehasını kıskanan Salieri tarafından zehirlendiği rivayetinden yola çıkarken yaratıcılığın doğasının felsefi boyutunu da gözler önüne seriyor.

Genres: Classics, Russian Literature, Plays, Russia, Poetry, Fiction, Drama

14 pages, Kindle Edition

First published January 1, 1832

About the author

Works of Russian writer Aleksandr Sergeyevich Pushkin include the verse novel Eugene Onegin (1831), the play Boris Godunov (1831), and many narrative and lyrical poems and short stories.

See also:
Russian: Александр Сергеевич Пушкин
French: Alexandre Pouchkine
Norwegian: Aleksander Pusjkin
Spanish:Aleksandr Pushkin

People consider this author the greatest poet and the founder of modern literature. Pushkin pioneered the use of vernacular speech in his poems, creating a style of storytelling—mixing drama, romance, and satire—associated ever with greatly influential later literature.

Pushkin published his first poem at the age of 15 years in 1814, and the literary establishment widely recognized him before the time of his graduation from the imperial lyceum in Tsarskoe Selo. Social reform gradually committed Pushkin, who emerged as a spokesman for literary radicals and in the early 1820s clashed with the government, which sent him into exile in southern Russia. Under the strict surveillance of government censors and unable to travel or publish at will, he wrote his most famous drama but ably published it not until years later. People published his verse serially from 1825 to 1832.

Pushkin and his wife Natalya Goncharova, whom he married in 1831, later became regulars of court society. In 1837, while falling into ever greater debt amidst rumors that his wife started conducting a scandalous affair, Pushkin challenged her alleged lover, Georges d'Anthès, to a duel. Pushkin was mortally wounded and died two days later.

Because of his liberal political views and influence on generations of Russian rebels, Pushkin was portrayed by Bolsheviks as an opponent to bourgeois literature and culture and a predecessor of Soviet literature and poetry. Tsarskoe Selo was renamed after him.

Reviews

[David · Rating 2 out of 5]

Mozart and Salieri is certainly a "Little Tragedy" - a tiny tragedy, in fact! And it's ancient, so you can read it here. The short etude of a play is a small illustration of genius and of envy. Salieri is a man completely devoted to music, hailed as a brilliant musician and composer, and he was very happy with his music, his life, free from envy and full of creative vigor, until Mozart his the scene. Mozart is a genius, so much so a genius with a capital gee that it casts Salieri's own ability into the shadows his own doubt. Enter Mozart, with a strange straggler in tow, a blind violinist. Mozart has been composing his famously unfinished "Requiem" - Salieri conspires to poison him to keep him from ruining the future of music with his inimitable genius.

The verse-play is very, very short, and only holds three characters (blind violinist, Salieri, Mozart). Each is representative of a different phylum of music-man: the undisputed, natural genius (Mozart), the dedicated and all-sacrificing achiever (Salieri), and the happy mummer (blind violinist). Salieri is the only envious man in the bunch. While Mozart has no man to envy, he has no reason or time to envy either - he has a childlike disposition, loves joking about with Salieri hiw friend, but his music is something which flows from him, and is not perceived as the product of intense labor (though of course it is, a private labor). The blind violinist is significantly without sight, he plays Mozart's "Don Giovanni" on cue, happy to play another man's composition for the love of sound. He is a sort of Shakespearean fool, though he has no speaking role and may well be a mute violinist as well. He serves to disrupt Salieri's composure, to draw an even greater contrast between the two masters: Salieri who is too grave for his own good, totally self-abnegating to his art, and Mozart, the family man and jolly prankster who is in love with life.

And Salieri justifies his crime with the self-styled choice of destiny:

SALIERI
No, I cannot withstand it any longer,
Resist my destiny: I have been chosen
To stop him -- otherwise, all of us die!
All of us priests and votaries of music,
Not I alone with my faint-sounding glory...

He extrapolates his jealousy to the musical community as a whole. He is saving the world from... from what? From a foregone future of Mozart's genius. He lacks the same creative genius that Mozart has an imagines that musical composition will end for everyone, there will be no peaks to reach, no music which can compare to Mozart's Everest "Requiem."

MOZART
...Salieri,
That Beaumarchais could really poison someone?

SALIERI
I doubt he did: too laughable a fellow
For such a serious craft.

MOZART
He was a genius,
Like you and me. While genius and evildoing
Are incompatibles. Is that not right?

Beaumarchais, the author of the Le Figaro plays, was accused of poisoning his wives for their inheritance money, and in many ways this hypothetical murder of Mozart is more an homage to love-murder than to Mozart. Salieri loves Mozart, Mozart the artist and maybe Mozart the man, but his passion is wounded, for he perceives that Mozart (man) does not live up the impossible grandeur of his expectations, Mozart-genius. His Machiavellian aims are obviously misguided and irrational. They follow only the twisted internal logic of a madman, though Salieri does not seem to be courting real madness in Mozart and Salieri. And if he is, it is a solemn madness, a self-aware madness, his attempts to delude himself of his own viciousness. His vanity is wounded, his hard work feels for naught, though it is obvious that Mozart admires him, his work, his dedication. As Mozart cannot imagine a genius-wrongdoer, Salieri cannot conceive a serious-fool ("too laughable a fellow for such a serious craft" - murder-craft or music-craft, either).

The blind man does not envy Mozart, he can't - Mozart is far too remote from him - maybe he envies some other sidewalk songster, but could never envy Mozart nor even Salieri. But Salieri's envy is expanded by his own self-appraisal of his work. The greater the genius the greater the grudging of envy - for Salieri has given up everything, he has achieved so much, has been immortalized for his operas like Armida. But Mozart stands to surpass him. He envies Mozart but he admires him, his artist productions are celestial to Salieri, and it would seem that he is more fearful that Mozart-man will outlive Mozart-genius than he is about Mozart upstaging musical art. He sees Mozart-man, the fumbling fool bringing home sidewalk violinists, as a threat to the genius who composed Mozart's many great musical creations. And the death of Mozart, which he shudders to regret moments after the act is complete (like Edmund's relent in death for Cordelia's murder in King Lear). But he returns to composure, the act done. And in his poison-murder, Salieri immortalizes the beauty of Mozart from the potential self-harm which her perceived. And we can imagine that the epitaph which adorns Salieri's grave would be an appropriate final parting from Salieri to Mozart:

Rest in peace! Uncovered by dust
Eternity shall bloom for you.
Rest in peace! In eternal harmonies
Your spirit now is dissolved.
It expressed itself in enchanting notes,
Now it is floating to everlasting beauty.

[Özgür · Rating 5 out of 5]

Mozart ve Salieri'nin yanı sıra Pinti Şövalye, Taştan Konuk ve Veba Sırasında Şölen isimli üç oyun daha var kitapta.

[Ian D · Rating 4 out of 5]

Πρόσφατα ανακάλυψα μια λίστα με δέκα κάπως λιγότερο γνωστούς τίτλους της ρώσικης λογοτεχνίας (περιττό να προσθέσω πως μόνο την Άμυνα του Λούζιν και το Χατζή Μουράτ γνώριζα), έργα που στη χώρα τους είναι διάσημα ενώ τα περισσότερα διδάσκονται μάλιστα και στα σχολεία.

Πρώτο στη λίστα φιγουράρει το σύντομο αυτό μονόπρακτο του εθνικού ποιητή της Ρωσίας (η επέτειος των γενέθλίων του - 6 Ιουνίου - είναι η διεθνής μέρα ρώσικης γλώσσας, βοήθειά μας).
Ο Σαλιέρι κι ο Μότσαρτ, δύο μουσικές ιδιοφυΐες κατά το δεύτερο, μόνο μία κατά τον πρώτο, ο οποίος και αισθάνεται ιερό καθήκον να απαλλάξει την ανθρωπότητα από την ύβρη τόσου ταλέντου.

Ένα έργο βαθύτατα ψυχολογικό, με εσωτερικότητα και μια υποψία χιούμορ που δικαιολογεί απόλυτα τη φήμη του (στην πατρίδα του τουλάχιστον).

[Anna · Rating 4 out of 5]

Es war ein sehr kurzes Stück, aber ich fand es einfach sehr schön geschrieben und mehr wollte ich nicht. Ich fand besonders die ersten Seiten sehr poetisch und möchte gerne mehr von Puschkin lesen

[Catherine Vamianaki · Rating 5 out of 5]

Although a short book I would like to read it again

[Omar BaRass · Rating 4 out of 5]

مسرحية خفيفة وهي إحدى "التراجيديات الصغيرة" لبوشكين. وهي تدور حول إشاعة تسميم سالييري لموزارت.


عدت وأضفت نجمة أخرى للمسرحية... أحداثها ظلت عالقة في رأسي طول هذه الفترة وترفض أن تغادر... لقد خلق بوشكين الحسد في سالييري، وتفاقم هذا الحسد بشكل تدريجي حتى النهاية...

جملة لموزارت قالها ولا يقصد بها سالييري لكن وقعت في قلب الأخير.. "الخسة والعبقرية متنافرتان" وهدا التسميم خسة يا سالييري...!!


http://www.thinghood.com/?p=1523


تنبيه! هناك ذكر لبعض أحداث المسرحية...



"خلال أول عرض ل"دون جيوفاني"، حين أنصت الجمهور كله – المليء بالخبراء المدهوشين – بنشوة موسيقى موزار، أطلق شخصٌ ما صفيراً. التفت الجميع إلى مصدر الصوت بإزدراء، ورأوا سالييري الشهير يغادر القاعة في غضب، وقد أكلته الغيرة. وتوفي سالييري بعد ثماني سنوات تقريباً. وقالت إحدى المجلات الألمانية إن سالييري – على فراش الموت – قد اعترف بجريمته الرهيبة في تسميم موزار العظيم. فأي رجل غيور يطلق صيحة استهجان من "دون جيوفاني" كان قادراً على تسميم صانع هذه الموسيقى"

الأخبار التي تداولتها الصحف الأوروبية حول اعتراف سالييري وهو على فراش الموت تسميم موزار حفزت بوشكين لكتابة مسرحيته عن الحسد واكتملت في عام 1830 وهي مسرحية قصيرة عبارة عن مشهدين فقط.



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تبدأ الغيرة فيما يبدو في إعتراض الشخص على "هبة الله" لشخص آخر. أي حسد ينبت عميقاً في النفس التي تشعر بأنها في أقصى حدود عطائها لن تجاري غيرها - صاحبة الموهبة- . الشعور بعدم العدالة يخنق الشخص ويغرقه في توجيه اللائمة على العالم من حوله. إنه أعطى كل ما عنده للشئ الذي يحب، إلا أن الموهبة تنقصه، لا تنقصه! بل اختارت طريقاً غير طريقه هو! اختارت – فيما يظن – شخصاً ليس أهلاً بها.

لذا كان استهلال سالييري هنا بديعاً...

"يقولون: لا عدالة هنا على الأرض.

لكن لا شئ – في الآخرة."

فهنا – عندما قال جملته – كان سالييري يركن في حجرة يتذكر بعدها طريقه الملئ بالعقبات، أمانته للموسيقى، عمله الذي لم يكن أبداً لغرض الشهرة فقط بل لأجل الارتقاء بالموسيقي لما هو أسمى من البشر. لهذا اعترض سالييري على الأقدار وتصريفها ليس لأنها أخطأته وحسب، بل لأنها أصابت أيضاً "العابث، الطائش اللامبالي.." موزار. إن بوشكين يزرع بذرة الحسد ويماشي نموها في صدر شخصية سالييري. ابتدأ معارضاً للأقدار، فتفسير سبب اعتراضه في معاناته، وصبره، وأمانته – هذا "العاشق الغيور، الراهب الورع" – ومن ثم تكبر هذه البذرة شيئاً عندما وقعت الموهبة عند العابث موزار أي حتى ظلمته في اختيارها لحاملها.

ويعطي بوشكين مباشرة في – في تسلسل جميل – لمحة عن عبث موزار بعد دخوله المفاجئ على سالييري ومعه عازف كمان عجوز من الحانة يعزف بشكل بائس نغمة من "دون جيوفاني" حتى ينفجر موزار ضاحكاً. ويلتزم بوشكين بجدية سالييري للفن في إنكاره عبث موزار وعدم الضحك معه حتى أنه طرد العجوز،



إن سالييري مؤمن بموهبة موزار وهو كذلك مؤمن من أنه لا يستحق هذه الموهبة. هذا ما حده لقول "أنت يا موزار إله، دون أن تدري، ولكني أدري"... في لامبالاة الآخر تتأجج النفس، وتضترم نار الغيرة والحسد لتأكله. ما يقتله أنه هو وحده يعرف الحقيقة هذه، يعرف مدى موهبة موزار – مدى خطورتها على الفن !

فكيف اختار الحاسد طريق الموت؟ ولم يكتفي مثلاً بالتخريب، أو مناغصة معيشة المحسود؟ في هذا تكمن جمال هذه المسرحية – على الأقل بالنسبة لي – لأن البذرة التي زرعها بوشكين في نفس سالييري أورقت هنا وأينعت...

نقره لتكبير أو تصغير الصورة ونقرتين لعرض الصورة في صفحة مستقلة بحجمها الطبيعي

قال موزار في اعتراضه عن قضية بومارشيه في دسه السم لأحد الأشخاص..

"لقد كان عبقرياً،

مثلك ومثلي.

والخسة والعبقرية متنافرتان"

ما الذي نفهمه هنا؟ سالييري ليس عبقرياً؟ لقد اس��طاع بوشكين أن يصور حسد وغيرة سالييري في أعظم صورة عندما ارتضى صفات الجهل والعبث والسذاجة لموزار فجعل منه مسخاً لا يرحم "مفعم بالحسد. حسد عميق أليم"



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- هذه المسرحية هي الوحيدة التي عرضت وبوشكين مازال على قيد الحياة في سانت بطرسبرج 1832.

- ألهمت بيتر شافير في كتابة مسرحيته، واعتمد المخرج ميلوش فورمان على عمل شافير في الفيلم الحائز على جائزة الأوسكار Amadeus.

- ظهرت هذه المسرحية كأوبرا 1897 وضع موسيقاها ريمسكي كورسكاف.

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المصادر:

· موزار وسالييري – بوشكين ترجمة رفعت سلَام

· مقدمة بوريس جودونوف – بوشكين ترجمة نبيل معلا

[Abeer alkhalil · Rating 4 out of 5]

مشهدين ستفهم من خلالهم كيف تكون العبقرية دمار مخيف لمن لا يحترمها!

لا اريد التفصيل وحرق الأحداث ولكن

المسرحية تغذي ما أُتهم به سالييري بتسميم موزارت ولا ندري هل قصد بوشكين التسميم الفعلي ام التسميم المعنوي! و الأخيرة لها قصة
وبكل الحالتين الوضع لمتذوقي الموسيقى
مستبعد! ومستهجن!

و من يتتبع معزوفات سالييري يدرك سماء شهرته وتفوقه ..حتى لغير معجبيه وبالتالي لن تجتمع بروح عازف و باطن مؤلف دناءة الحسود القاتل!

قيمتها بِ' اربع نجمات لتأثير غامض سيطر علي و
دفعني لقرأتها مرتين متتاليتين ..ولم أدرك كنهه!

[Anastasia · Rating 4 out of 5]

"Τότε αποθάρρεψα όλος γνώση να δοθώ σ' όνειρα ηδονικά δημιουργίας."

[Anastasja Kostic · Rating 5 out of 5]

Sto bi rekao Puskin Salijeri je samo ubica i svaki njegov napor da napise nesto znacajno ce mu propasti.

[Illiterate · Rating 5 out of 5]

Four short dramatic poems. Death arises from an excess of greed, ambition, love, and good cheer.

[Madeleine Pelli · Rating 4 out of 5]

The Miserly Knight-3 stars
Mozart and Salieri-4.5 stars. Awesome for what he could fit in in the small time
The stone guest-4 stars. Objectifying women??? But kinda made fun of doing that in the end?? Mixed feelings??
The Feast During the Plague-3.5. Pretty cool. I liked the Plague Song.

[هالةْ أمين · Rating 3 out of 5]

رغم أنها مسرحية قصيرة اختصرت في مشهدين
إلا أن أكثر مايروقني في المسرحيات غياب تلك التفاصيل الكثيرة كما في الروايات
وجعل الحرية الكاملة للقارئ في تخيل كيف قال هذا الممثل تلك العبارة
وكيف استقبلها الآخر ؟
..
راقت لي المسرحية ولن أملك أن أقول فيها شيء أكثر
مما هو موجود في هذا الرابط
http://www.thinghood.com/?p=1523
والشكر له موصول على التقرير المتكامل الذي أعده وقدمه
=)

[lis · Rating 3 out of 5]

რექვიემს მოუსმინეთ და სანამ ჩაამთავრებთ კითხვას, ეგეც მორჩება. გაასწორა.

[Tobi ﾄﾋﾞ · Rating 3 out of 5]

we really overlook the fact that pushkin was writing a fluff oneshot fanfiction about mozart in 1830? i never want to see someone calling fanfiction “not real writing” ever again

[Jordan Taylor · Rating 3 out of 5]

In 1825, the noted Italian composer Antonio Salieri confessed on his deathbed to having poisoned Mozart, who had died 34 years earlier. Though it was later proved to be complete fabrication, the admission caught the attention and interest of the public, including Pushkin. Mozart and Salieri is one of Pushkin's aptly named "Little Tragedies."

It opens with a long, eloquent speech by Salieri, in which he tells us of his earliest experiences with music, his obsessive dissections of it, his secret compositions, and his forsaking of all else in life. His love of music eventually leads to Mozart, the focus of his burning envy.
Mozart glides merrily into the story and persuades the solemn Salieri to listen to a lowly tavern fiddler, whose performance, it turns out, is a parody of Mozart's Don Giovanni. The horrified Salieri sends the man on his way, feeling insulted that Mozart, who possesses such an unjust measure of brilliance, can treat his gift so irreverently. Mozart then tells him that he jotted down something last night, and begins playing.
Though Mozart treats all with nonchalant indifference, Salieri says in genuine awe "You came to me with this, and stopped to listen to a tavern scraper! Mozart, you are unworthy of yourself. You are a god: you do not know it, but I know, I know it."

His jealously leads him to force himself into rationalizing dark undertones to Mozart's brilliance, and reasons why it should not be. "He will be the downfall of us all," Salieri tells himself, referencing the fact that other talented musicians of the present day, such as himself, are reduced to nothing in an era of Mozart. He reasons that to take music to such great heights will only devalue it after Mozart's death, as anything else will be a decline of quality.

In the next scene, Salieri and Mozart are having a lavish private dinner, and we see a more somber Mozart, who seems to have become paranoid about a mysterious man in black that has requested a Requiem.
He says "Everywhere, day and night, the man in black follows me like my shadow. Even now it seems he's sitting here with us."
Pushkin leaves the reader to decide if this man in black is Salieri, but we do see him assuring his friend that he is merely being superstitious, and then slipping poison into his drink.

This book was most likely the briefest play that I have ever read, and due to this fact, it is nothing extraordinary. Pushkin's writing is strong, and I find the fact that he was so interested in Mozart intriguing, as I can now look for it in other works of his (this wasn't the only one of his plays with Mozart, or Mozart's works, as the focus of the story).
A nice, pretty little ten-minutes of reading.

[Issa · Rating 3 out of 5]

كم من ساليري كادح لم يُقدر له أن يكون على موهبة موزارتٍ، يميل إلى اللهو. أرى أن هذه المسرحية رمز لفشل الجهد أمام الحظ، والجدية أمام اللهو، وهي رمز للاعتباطية أو عدم العدل الذي يقرر مصائر الأشياء أو
الناس.

كما أنها أيضا قصة عن الحسد، إذا نظرنا لها من زاوية أخرى. حسدٌ لروح المرح والإبداع المتجسدان في موزارت، من قبل الروح الصارمة والمتمثّلة في ساليري.

[Marcus · Rating 4 out of 5]

The original short play that inspires Shaffer's play and Oscar winning film Amadeus. It is inspired by the myth that Salieri poisoned Mozart out of jealousy.

[Hanieh · Rating 5 out of 5]

5/5
it was like ten to fifteen minutes long read but it literally blew me off my knockers. like it's unbelievable how much is packed inside this little play. and knowing where it's coming from, the very interesting event that probably inspired it, it's just sooo good

[Maan Kawas · Rating 5 out of 5]

A beautiful short drama by the great Russian poet Pushkin! Although it is a short one, but it is full of important messages regarding art. The play starts with Salieri, who is suspicious about the existence of justice on earth as well as Heaven, and who tells about his self-denial for the sake of art because he places it in a higher plane of existence. However, the arrival of Mozart threatened him and lead to some changes in character; for instance, as he started to be an envious person, a thing which has never been there before. In his attempts to get rid of Mozart, he presumes that Mozart should die because he will leave no successor; thus, he should die, and the sooner the better. When the fiddler comes, we see Mozart so happy and laughing because an old ordinary man who was playing one of his pieces (Don Giovanni), a thing which irritated Salieri a lot because he places art in a lofty plane, while Mozart seems not like him in this regard (Mozart composes sublime music but also enjoys life). What I loved most in the drama was Mozart’s comment that genius and villainy cannot be compatible, a point which later on makes Salieri reconsider the question more carefully, and asking whether he was a genius or villain, and whether these to things are incompatible. So, it seems that the main question of the drama is about art and its place. On the other hand, the drama mentions the question of Mozart’s requiem, which a masked man in black commissioned him to compose. A thing which after many people, until our day.

[أنتيجوُنا . · Rating 5 out of 5]

" لماذا تمنحني الشغف وتمنعني الموهبة ؟ "
تلك هي المسألة .

..

متى سيحس الجميع بقوة الموسيقا مثلك ؟
ولكن لا فالعالم عندئذٍ لن يستطيع ان يستمر في الوجود
ولن يعود احد يهتم بحاجات الحياة الدنيا
وسينصرف الجميع الى رحاب الفن الحر
نحن النخبة القلة . نحن المحظوظين المتفرغين
الذين نزدري المنفعة الحقيرة
نحن كهنة " الرائع " وحده
أليس كذلك؟

[Ash88 · Rating 4 out of 5]

الخسة والعبقرية لا يجتمعان يا سالييري! هنا طرح في قضية العدل الإلهي بصورة فذة وساحرة. رغم أن المسرحية من فصلين إلا أن عبقريتها مرعبة. عظيم يا بوشكين!

[Svetlana Wesley · Rating 5 out of 5]

Favorite poem from childhood

[Randi]

Basically, this is the movie "Amadeus" condensed into two scenes and told in blank verse. :)

[mary (ferrari's version) · Rating 4 out of 5]

Actually reading this makes me rethink all that I've been told about Pushkin starting the rumor that Salieri killed Mozart

[Realini Ionescu · Rating 4 out of 5]

Mozart and Salieri by Alexander Pushkin

Against the odds, I think Salieri is an interesting character, and an even more appealing one -in a way- than Mozart



This story has reminded me of the fabulous movie Amadeus, by the great Milos Forman

There is the strange relationship between Mozart, the genius child and Salieri, who may or may not have played a role in the unfortunately early death of Mozart.

On the surface, Mozart and Salieri are on very good terms, but beneath the surface there is a High Anxiety, especially on the part of Salieri.

The latter had had an excellent position at the court, until Mozart ruined all that.

Salieri is very angry and jealous and determined to push Mozart aside, albeit Mozart seems to believe to the end that Salieri is actually helping him.

Mozart is presented in a totally new light, in a wonderful book that I have read called Outliers by the acclaimed Malcolm Gladwell.

In Outliers there is a different argument concerning the genius of Mozart. The boy genius may have written some compositions, but on the other hand, they might have been the work of Leopold, his father.

In any case, the music that is played today, the compositions that really matter have been written by Amadeus Mozart after the age of twenty five.

And here Gladwell has an interesting theory on Outliers, which basically supports the idea that with 10, 000 hours of practice or learning, you could become a “genius”, a musician, an athlete, and scientist, whatever-of worldwide fame. With three hours of training every day, for ten years, one would be among the best in the whole world.

This argument is used for athletes, computer geniuses, The Beatles and more. An extraordinary book- Outliers.

Coming back to the story in question, and applying the discovery of Malcolm Gladwell, the important thing in the ascension of Amadeus Mozart was the practice, his program which was heavy and full of concerts and practice, which has resulted in an accomplished composer, after the age of twenty five and many hours of music.

Salieri, instead of holding grudges, could have better and intensified his program of practice and studies.

Beaumarchais is introduced in this tale, with his suggestion to read the Nozze di Figaro, whenever one is feeling down.

And there is a strange question addressed by Salieri to Mozart:

- Has Beaumarchais used poison to kill someone?

Against the odds, I think Salieri is an interesting character, and an even more appealing one -in a way- than Mozart.

I am not alone, since Abraham Murray in the role of Salieri won the Academy Award for best actor, against Tom Hulce who played Amadeus.

Mozart is the genius, the Absolute God of music, nobody can be better, as opposed to Salieri who has qualities, composed some forgettable, but appreciated music, but is also a prince of darkness, with evil traits and as complex as we can get.

[mobydickens · Rating 5 out of 5]

"But now - and I who say it - now I envy - I profoundly envy. Heaven! O where is justice when the sacred gift, immortal genius, comes not in reward for toil, devotion, prayer, self-sacrifice - but shines instead inside a madcap's skull, an idle hooligan's? O Mozart, Mozart!"

I wanted to read The Little Tragedies primarily for the piece of Mozart and Salieri. Amadeus (the play by Peter Shaffer and the movie directed by Milos Forman) are among my favorite pieces of art.

Each story is very short, depicting just a moment or moments. I don't think I am learned enough when it comes to plays and poetry to truly appreciate them, but I enjoyed the writing and flow of the verses very much. The stories explore protagonists who are "dreamers pursuing their obsessions". Money, lust, envy, survival. My favorite was (unsurprisingly) Mozart and Salieri, with The Stone Guest, a tale of Don Juan returning from Exile, coming in a close second.

[Javier Muñoz · Rating 5 out of 5]

Después de leerlo me acordé de una frase en una canción de Violeta Parra.
"Yo no sé por qué mi Dios
le regala con largueza
sombrero con tanta cinta
a quien no tiene cabeza."

La Divinidad le otorgó el Genio a Mozart, en cambio a Salieri, el talento fue a costa de trabajo duro y perseverancia. Esto gatilla la envidia de Salieri, ya que el arte de Mozart se encuentra en una altura inalcanzable.

[Talamar · Rating 4 out of 5]

Salieri was very successful and famous throughout Europe. There is no way his music could have been mediocre and uninspired. Personally, I think Mozart died of a tetanus infection. It fits the available evidence.

[Anastasia · Rating 4 out of 5]

*Read for class.

Well, I liked it quite a bit, especially after reading an article (like I usually do) and understanding some rather important things about Salieri.

[Fredrik Lindholm · Rating 4 out of 5]

Beautifully written little fragment, but probably best enjoyed while listening to Mozart, as it is intended to be